¹ tn Or “was grieved”; “was sorry.” In the Niphal stem the verb נָחָם (nakham) can carry one of four semantic meanings, depending on the context: (1) “to experience emotional pain or weakness,” “to feel regret,” often concerning a past action (see Exod 13:17; Judg 21:6, 15; 1 Sam 15:11, 35; Job 42:6; Jer 31:19). In several of these texts כִּי (ki, “because”) introduces the cause of the emotional sorrow. (2) Another meaning is “to be comforted” or “to comfort oneself” (sometimes by taking vengeance). See Gen 24:67; 38:12; 2 Sam 13:39; Ps 77:3; Isa 1:24; Jer 31:15; Ezek 14:22; 31:16; 32:31. (This second category represents a polarization of category one.) (3) The meaning “to relent from” or “to repudiate” a course of action which is already underway is also possible (see Judg 2:18; 2 Sam 24:16 = 1 Chr 21:15; Pss 90:13; 106:45; Jer 8:6; 20:16; 42:10). (4) Finally, “to retract” (a statement) or “to relent or change one’s mind concerning,” “to deviate from” (a stated course of action) is possible (see Exod 32:12, 14; 1 Sam 15:29; Ps 110:4; Isa 57:6; Jer 4:28; 15:6; 18:8, 10; 26:3, 13, 19; Ezek 24:14; Joel 2:13-14; Am 7:3, 6; Jonah 3:9-10; 4:2; Zech 8:14). See R. B. Chisholm, “Does God ‘Change His Mind’?” BSac 152 (1995): 388. The first category applies here because the context speaks of God’s grief and emotional pain (see the following statement in v. 6) as a result of a past action (his making humankind). For a thorough study of the word נָחָם, see H. Van Dyke Parunak, “A Semantic Survey of NHM,” Bib 56 (1975): 512-32.

¹ tn The introductory headings that identify the speakers of the poems throughout the Song do not appear in the Hebrew text. They are supplied in the translation for the sake of clarity. These notations should not be misinterpreted as suggesting that the Song be interpreted as a drama. Throughout the Song, the notation “The Lover” refers to the young man, while “the Beloved” refers to the young woman. Since the Song of Songs appears to be a collection of individual love songs, the individual love poems within the collection might not have originally referred to the same young man and young woman in each case. Just as the Book of Proverbs contains proverbs composed by Solomon (10:1-22:16; 25:1-29:27) as well as proverbs composed by other wise men (22:17-24:34; 30:1-31:9), so the Song of Songs may contain love poems composed by Solomon or written about Solomon as well as love poems composed by or written about other young couples in love. Nevertheless, the final canonical form of this collection presents a unified picture of idyllic love between one man and one woman in each case. The young man in several of the individual love poems is explicitly identified as Solomon (1:5; 3:7; 8:11-12), King Solomon (3:9, 11) or the king (1:4; 7:6). Some statements in the Song are consistent with a royal figure such as Solomon: references to Tirzah and Jerusalem (6:4) and to multiple queens and concubines (6:8). It is not so clear, however, whether Solomon is the young man in every individual poem. Nor is it clear that the same young woman is in view in each love poem. In several poems the young woman is a country maiden working in a vineyard (1:5-6; 8:11-12); however, the young woman in another poem is addressed as “O prince’s daughter” (7:2). The historian notes, “Solomon loved many women, especially the daughter of Pharaoh” (1 Kgs 11:1). So it would be surprising if the Song devoted itself to only one of Solomon’s many liaisons. The Song may simply be a collection of love poems written at various moments in Solomon’s illustrious career as a lover of many women. It may also include love poems written about other young lovers that were collected into the final form of the book that presents a portrait of idyllic love of young lovers.

¹ sn I am the true vine. There are numerous OT passages which refer to Israel as a vine: Ps 80:8-16, Isa 5:1-7, Jer 2:21, Ezek 15:1-8, 17:5-10, 19:10-14, and Hos 10:1. The vine became symbolic of Israel, and even appeared on some coins issued by the Maccabees. The OT passages which use this symbol appear to regard Israel as faithless to Yahweh (typically rendered as “Lord” in the OT) and/or the object of severe punishment. Ezek 15:1-8 in particular talks about the worthlessness of wood from a vine (in relation to disobedient Judah). A branch cut from a vine is worthless except to be burned as fuel. This fits more with the statements about the disciples (John 15:6) than with Jesus’ description of himself as the vine. Ezek 17:5-10 contains vine imagery which refers to a king of the house of David, Zedekiah, who was set up as king in Judah by Nebuchadnezzar. Zedekiah allied himself to Egypt and broke his covenant with Nebuchadnezzar (and therefore also with God), which would ultimately result in his downfall (17:20-21). Ezek 17:22-24 then describes the planting of a cedar sprig which grows into a lofty tree, a figurative description of Messiah. But it is significant that Messiah himself is not described in Ezek 17 as a vine, but as a cedar tree. The vine imagery here applies to Zedekiah’s disobedience. Jesus’ description of himself as the true vine in John 15:1 ff. is to be seen against this background, but it differs significantly from the imagery surveyed above. It represents new imagery which differs significantly from OT concepts; it appears to be original with Jesus. The imagery of the vine underscores the importance of fruitfulness in the Christian life and the truth that this results not from human achievement, but from one’s position in Christ. Jesus is not just giving some comforting advice, but portraying to the disciples the difficult path of faithful service. To some degree the figure is similar to the head-body metaphor used by Paul, with Christ as head and believers as members of the body. Both metaphors bring out the vital and necessary connection which exists between Christ and believers.

⁵ sn The term צֵל (tsel, “shade”) is used figuratively to depict protection and relief. This term is used in OT literally (physical shade from the sun) and figuratively (protection from something) (HALOT 1024-25 s.v. צֵל): (1) Literal: The physical shade of a tree offers protection from the heat of the midday sun (Judg 9:15; Ezek 17:23; 31:6, 12, 17; Hos 4:13; Jonah 4:6; Job 7:22; 40:22). Similar protection from the sun is offered by the shade of a vine (Ps 80:11), root (Gen 19:8), mountain (Judg 9:36), rock (Isa 32:2), cloud (Isa 25:5), and hut (Jonah 4:5). (2) Figurative (hypocatastasis): Just as physical shade offers protection from the sun, the Israelite could find “shade” (protection) from God or the king (e.g., Num 14:9; Isa 30:2; 49:2; 51:16; Hos 14:8; Pss 17:8; 36:8; 57:2; 63:8; 91:1; 121:5; Lam 4:20; Eccl 7:12). The association between “shade” and “protection” is seen in the related Akkadian sillu “shade, covering, protection” (AHw 3:1101; CAD S:189). The epithets of several Akkadian deities are sillu and sululu (“Shade, Protector”). The motif of protection, rest, and relief from the sun seems to be implied by the expression וְיָשַׁבְתִּי (vÿyashavti, “I sat down”) in 2:3b. During the summer months, the temperature often reaches 110-130ºF in the Negev. Those who have never personally experienced the heat of the summer sun in the Negev as they performed strenuous physical labor cannot fully appreciate the relief offered by any kind of shade! Previously, the young woman had complained that she had been burned by the sun because she had been forced to labor in the vineyards with no shade to protect her (Song 1:5-6). She had urged him to tell her where she could find relief from the sun during the hot midday hours (Song 1:7). Now she exults that she finally had found relief from the scorching sun under the “shade” which he offered to her (Song 2:3). S. C. Glickman writes: “Whereas before she came to him she worked long hours on the sun (1:6), now she rests under the protective shade he brings. And although formerly she was so exhausted by her work she could not properly care for herself, now she finds time for refreshment with him” (A Song for Lovers, 40).